Chief Economist, David Waterman

By Mona Malacane

Retired life has been pretty exciting for David Waterman. On November 13 Federal Communications Commission’s Chairman Wheeler announced David’s appointment as FCC’s Chief Economist.

David has published for years in the area of economics of telecommunications and media ( here is an earlier blog post), and has consulted for the FCC in the past (as well as the Federal Trade Commission and the U.S. Department of Justice); so being considered for the appointment wasn’t a complete surprise for him. He knew for some time that he was the shortlist for the appointment and had spent a day interviewing at the FCC earlier this year. Although David had gotten to know quite a few people who work at FCC through annual conferences, David thinks that the opportunity was mostly about being in the right place at the right time, given the media-related issues coming up at the commission next year.


Humble in his usual ways, David explained, “It’s not as important as it sounds. Even though they call me the Chief Economist, I don’t actually have any real power. There is a large staff of economists at the FCC and I’m sort of, theoretically, at the head of that staff. And part of my job is to promote economics in the commission and encourage publishable research by the staff … but I’m actually not in charge of administering anyone. It is like academia in that I can choose what I work on and although I report directly to Tom Wheeler [the chairman of the commission] and that’s a great opportunity, he chooses whether or not to listen to me.” Considering this is his life’s work, David is, as you might expect, looking forward to his new role at the FCC. After interviewing him a few times for the blog, I have to say this is the most I have ever seen David smile!

The appointment term is for one year beginning January David will be living in Washington and was still searching for somewhere to live when I interviewed him before the Thanksgiving break. He won’t be far from family though because his daughter, Chloe, works in DC for the American Society for the Prevention of Cruelty to Animals – another perk that David is looking forward to. “She is going to help keep me anchored and from going crazy so that really makes a big difference.” I was very concerned that his beautiful garden would suffer without his attention and care, but don’t worry! David plans to leave detailed instructions for his son Matthew, who will be staying in Bloomington, to care for his peppers while he is away.



Before our interview ended, David wanted to recognize Ryland Sherman and the work they have done together. “It’s been the flair coming from his understanding of technology and the law that I think attracted the attention of the Commission, so that’s been a very valuable thing.”


First Brown Bag of the Semester – September 5, 2014

Ryland Sherman, PhD student, and David Waterman, Professor Emeritus, Indiana University, Department of Telecommunications

The Future of Online Video: An Economic and Policy Perspective

Abstract: We explore the economics of the online video entertainment industry to provide a foundation for understanding its economic future and how regulation may affect it. We first document recent development of online video, including market structure, prevailing programming windows, and content aggregation patterns. In spite of its remarkable efficiencies, we identify three potential obstacles to online video’s future growth: competition from increasingly efficient cable, DBS, and other multi-channel programming distributions, including advantages they have in large scale aggregation of online content via “TV Everywhere” type services; limited availability of high quality content, especially windowed programming; and ISP pricing strategies that may raise effective consumer prices of video consumption. In conclusion, we discuss the role that FCC regulation or other government policies can play to ensure future competition and open entry in the online video industry.

By the Numbers

By Edo Steinberg

When Ph.D. student Ryland Sherman heard we want to interview him about his love of big data, he joked that we’ll ask him about how his eyes sparkle whenever someone mentions Excel. It is not uncommon to see Ryland hook up his laptop to the big screen TV in the grad lounge and look through data in as many as 20 open windows all at once.

“I’ve always loved the process of manipulating numbers, and I developed that skillset with a variety of MBA and economics courses I’ve taken,” he says. “Once you get to manipulate numbers that way it becomes kind of a game and a puzzle, and I love playing it.”

“While you can learn so many advanced statistical applications to do really interesting, delving research, in the business world, basic business statistics end up being the primary source for 90% of business decisions,” he says. For that reason, Ryland uses Excel rather than other statistical programs such as SPSS in his research into the economic side of telecommunications. “I learned to use Excel in a day in order to do regressions when I was 20, and from that point on I just love to be in Excel.”

“I love being around researchers, because they always have these great data sets that can often be transferred into Excel for data manipulations and basic statistics,” Ryland says.

He has also noticed that he uses the program much more often than others in the field, and so he has developed skills that complement each other – the ability to conduct research and to quickly create many MBA-style graphs. “I’ve worked with several professors to create graphs and charts for publication and I’m always looking for more opportunities to do that.”

The kind of data Ryland works with is quite different from what most of the department is used to. Rather than conducting surveys, experiments or content analyses, he uses available market data. For example, he and Prof. David Waterman recently had to use available data sets to understand how much the video service Hulu makes in a year from advertising. The information they had included how many hours the average user watches Hulu in a given time period, rough estimates of how many commercials are inserted into a video in an hour, the cost per thousand views of a commercial, the proportion of people who first watch internet videos and then watch Hulu, and the proportion of users who ever watch videos. “We have to make a series of assumptions as to how to put all those things together,” Ryland explains.

“We’re always looking for more data points,” Ryland says. Statical data points make it difficult to show trends across time, so he needs information from different periods. “Every time I find another data point that can contribute to a similar story, piecing something together, it is an exciting thing to say the least.”

Ryland also likes helping others with their data sets. “Ninety percent of the stats that are really needed to lead up to those big statistical analyses are just basic stats. The problem is whether you can rapidly select the data that you need to create all the counts, figures and numbers for other conditional analyses. It is at that stage that I am most helpful.”

The T283 Team, Ryland’s Stats Search, Russell’s Thesis (Teaser), The Ted, Brown Bag

The T283 Team, by Mike Lang

Collaboration and fluidity dominates modern media work. A team of workers comes together for a project, only to disband again when it ends. Sure, packs of people may move together from project to project—just read through the credit rolls from Christopher Nolan’s films to identify some repeat offenders—but rarely does an entire team reassemble for another project down the road.  Yet, despite the temporary nature of the work, in those grueling hours of the dreaded crunch, in the moments of hilarity and inspiration, in the moments of conflict and aggression, and even in the moments of absolute and total boredom, media workers form relationships with roots so deep they sustain for a lifetime.  For Shannon Schenck, Matt Falk, Brian Steward, and Sophie Parkison, the associate instructors for T283: Introduction to Production Techniques and Practice the reality of media work holds true for work as an AI.

The conference room feels like the principal’s office Brian jokes. “I feel like I’m about to get scolded.” The beige walls and lack of windows certainly don’t produce a warm fuzzy feeling, but a good-natured vibe pervades none the less. With these four plus T283 crew chief John Walsh, location doesn’t matter that much. They can make anything fun. I’m fortunate because we have managed to find a time when everyone can meet. Anybody who has ever tried to schedule/reschedule an event with a group of graduate students and faculty members knows how difficult this can be. As an MA student I rarely interact with the production side of the department, so I’m excited to finally pull back the curtain and see what actually goes on. “This better be good” jokes Matt, “This is the only reason I put on pants today.”

T283 is a hands-on production course that gives students opportunities to work with the equipment and software they will be using in the field, in environments that simulate real-life working conditions.  As Sophie notes, T283 acts as a sampler, exposing students to the range of jobs one would encounter in a real studio or in real projects.  T283 features two parts. Every Monday from 2:30-3:45 the 90 or so students roll into the lecture portion of the class led by John Walsh. Composed mostly of second semester sophomores and juniors, T283 is a make or break class for students hoping to continue along the production trajectory, and as a result, it features a lengthy waiting list and a number of students who have waited semesters to get in. In addition to the lecture, students must attend a four hour lab led by one of the AIs.  Each of the eight sections contains 10-14 students. While older iterations of T283 were broadcast production oriented and featured eight weeks of studio work, and eight weeks of work in the field, John Walsh and Ron Osgood have introduced  new elements to the course. In addition to studio and field, there is a section of new media. With Photoshop and Dreamweaver skills acquired in the course , at the end of the semester students should be able to put together a professional online portfolio that features the work they have done in both the studio and the field.

Because the bulk of the class takes place in the lab, the success or failure of the course largely rides on the AIs. Each lab has a distinct personality, according to Brian, and figuring out how to work with those different dynamics is a big part of the job. As Matt says, the AIs have to play the role of executive producer. They have to put everyone in the best position to succeed, and that can’t happen if the AIs don’t know the students. You have to know what makes them tick, what is going on in their lives, and what is their personality because it is all going to come up in their work.  But then, with such small classes, and four hours of face time in the lab, “you’re going to learn them really fast,” says Shannon. Because of the structure of the course, the relationship between AI and student extends much further than that of the typical instructor-student relationship. As Shannon says, because the AIs invest so much in their students, their students invest back in them. They come to the AIs to talk about life, classes, projects outside of class, equipment, and everything in between. It creates a different dynamic in the classroom. The students really value what you think.   Matt says the system builds trust. “Other students see us laughing and joking back and forth, which encourages them to open up to us.” Beyond grading and giving feedback, the AIs have to foster a sense of collaboration and creativity that encourages students to really engage and think.

The beauty of the course lies in the subtleties. While the course covers all of the basics, the difference between average and exceptional can sometimes amount to half a second.  For Brian, the moments students learn these subtleties are light bulb moments.  He says one should not tell students what to do but to let them attain realizations on their own. In one instance, one of Brian’s students was directing a scene.  Instead of watching the monitors as the scene played out, the student had his head buried in the script, calling out camera changes based on the dialogue. After a few poor takes, Brian walked up, and took the script out of his hand and told them to roll again. As soon as the take started, the light bulb clicked on and the student understood immediately why watching the monitors is so important.  In the span of five minutes, the student recorded the best take of the day, and gained a whole new confidence in one of the most intimidating positions in the studio. In a sense the course is an exercise in building confidence, and for the AIs nothing beats a student who comes in nervous and afraid and leaves bustling with energy and self-assurance. As Brian notes, sometimes you might suggest an idea to a student who will muster up the courage to say, “I think I’m going to stick with my idea and see how it goes,” and when it turns out better than the suggestion, you know they are really getting it.

The AIs work as a team and rely on each other like family. As John notes, every member of the AI team possesses a different yet complimentary set of skills and experiences: Shannon’s handiwork with the camera, knowledge of the production lab, and background in teaching screen writing; Matt’s masterful command of audio, and experience as a documentary filmmaker; Brian’s background in the industry (if you haven’t check out Brian’s IMDB page yet, make it happen);  Sophie’s knowledge of story and development and her extensive experience with Studio 5 and IU in general. As such, the AIs lean on each other in various circumstances. Matt is a common fixture in labs that aren’t his own—talking about the soundboard and sharing his extensive audio knowledge. Brian may come over to students working in field to demonstrate techniques or share his own experiences. Since Brian hadn’t set foot in studio 5 since the first Reagan administration (when he was an undergrad), he relied on his fellow AIs to show him everything in the studio. They even taught him how to use Final Cut. They also lean on each other when it comes to dealing with students. The boundaries which separate one AI’s students from another are very porous. They constantly field questions and review work from students in other labs, especially if they are hanging around the production lab. “You have to be careful” says Sophie. “If you go in, you might not come out.”

The team is in constant contact over email, at their weekly meetings on Monday, and as they cross paths between labs. They share strategies, discuss what went well, and ways to make things better. Most importantly, they encourage one another. “It’s almost like we’re soldiers together” says Shannon, and they certainly share that camaraderie.  Brian and his wife Elizabeth are expecting expecting in April, yet the team has already devised a contingency plan in the event the baby is early, late, or on time. They take care of one another and even though they are providing their students with a real media work experience, they are also getting one themselves. “This is how you feel about a crew when you work with a crew” says John. “Its our semi-permanent work group!” jokes Sophie.

Each semester is different. AI teams come and go, group dynamics change, and new concepts are taught, but T283 continues to offer students an experience of media work that reflects the real world, and without the exceptional work of the AIs, none of that is possible, a fact not lost on the students. At the end of the fall semester Brian surprised his lab with pizza. As his wife Elizabeth walked into the studio with the stack of boxes, the students had a surprise of their own. Knowing the newlyweds were expecting, the students had pooled their money together to purchase a gift of their own. From a pile of baby clothes, one of the students pulled out a tiny onesie that read “Daddy’s Little Sweetheart.” That just doesn’t happen elsewhere.

John Walsh frequently refers to his AI team as superheroes. After my conversation with them, it is easy to see how important they are to the success of our program.

Ryland’s Stats Search, by Mike Lang

Ryland Sherman, first-year Ph.D. student, has plenty of experience with statistics. While this author humbly admits a lack of in-depth knowledge in statistics, it’s still safe to say that “proof-based multivariate calculus” sounds daunting—and, in the very first class of Ryland’s undergrad career, proficiency in it was expected before walking through the door. When in law school, he took a business class: Spreadsheet Modeling in Finance, a synthesis of “multivariate calculus, economics, finance and inter-temporal math, and statistics.” Ryland earned an “A,” impressive not only because of the material, but also because the bar for that top grade was set at ninety-six percent. The point is, simply, that one Ryland Sherman is no slouch when it comes to statistics. A self-proclaimed guru in Excel, he also knows most of those acronym-named stats programs that begin with the letter “S.” Then, he met a new letter of the alphabet, R—“the Linux of stats,” according to Ryland—and the experience has caused him to give pause when considering his next methods class.

Most Telecom students take applied stats courses, often in the psychology department. Ryland, however, decided to go to the Department of Statistics to attain a more abstract, fundamental grasp of statistics. The students in the S501: Statistical Methods I were asked to vote for the program of choice and they chose R. Though he prefers Excel, “ultimately, R is more robust,” Ryland explained. “It’s able to run these packages that were created by statisticians on this freeware, shared among people who must be advancing their careers by writing open-source R code to do cutting-edge statistical stuff. That’s why stats majors love R—but stats majors have computer programming backgrounds, apparently.” R is not for first-time programmers; it has a reputation for being clunky and sometimes outright counterintuitive. Nicky Lewis, another member of our cohort, took the class previously and did well—but she had a background in HTML programming. “Right off the bat, we were expected to be able to learn new programming languages and run loops,” Ryland said. Instead the course material ran loops around him.

“I have a love-hate relationship with R,” Ryland confessed. “She’s a rough mistress, hard to read and hard to understand. Occasionally, I was able to reach a mutually agreeable outcome—often at three or four in the morning, long after I thought I would be done.” As with most relationships, it was difficult to see the issues before diving into it. Without any background in programming, it became difficult for Ryland to learn the stats-related lessons of the course. “Programming is a world of trial and error,” Ryland said, “where you spend most of your time fixing a problem you didn’t see was there. That’s not a way to learn stats.”

“While I think everybody needs to know basic stats and be able to draw from that toolkit, I think that there are lots of areas of equations and models that can be pulled from areas other than the statistics program,” Ryland said. “On some level, I’m happy that R slapped me around a bit, because it’s made me think more outside the box.” Forced to pick a new minor, he is considering economics, sociology, and informatics. Regardless of which department he chooses, from now on, statistics will be less of an abstract affair. “Stats does not exist independent of the way it is used. The reason why so many people in our program have taken stats in psychology is that stats is taught in the context of psychological methods … putting stats in context is much more valuable. The statistical methods utilized by people coming out of psychology stats are as sophisticated as anything else and are a much better, custom fit to their applications.”

Russell’s Thesis, by Ken Rosenberg

Russell McGee and Brad Cho, both second-semester master’s students and experienced filmmakers, are going to collaborate on a project of thesis-level proportions. Cinema 67 (working title) is a postmodern coming-of-age movie that deals with intolerance of homosexuality in a small rural town. Some of the more lighthearted elements, like a prank involving cotton candy dye, are loosely derived from Russell’s past experiences working at a drive-in theater. Brad has been commissioned as the director of cinematography.  This project will be a fresh and exciting undertaking for Brad, as his past experience has mainly been with documentaries. With the script complete and a tentative schedule in place, they are in the process of finalizing the cast and building sets—shooting will begin over the summer. If you want to provide encouragement—or maybe a headshot, depending on your intended career trajectory—feel free to stop them in the hall for a quick chat about their work. Stay tuned for further updates!

Random Photo of the Week: The Ted

Ted Jamison-Koenig's new vanity plate finally offers the department a way to distinguish between the student and the professor in casual conversation.

Brown Bag

We are all kinda here: Collaborating in virtual and analog environments

Mark Bell

Over the past few months, I have been assisting Dr. Anne Massey (Dean’s Research Professor & Professor of Information Systems) and a team of researchers with a National Science Foundation Grant. This grant studies collaborative virtual presence (CVP) in collaborative virtual environments (CVE), such as Second Life. Using a range of measurements (SL activity, eye tracking and physiological) and researchers from a number of areas (Telecommunications, Information Systems, HPER) this project is, in itself, a collaborative effort that synchronously captures three streams of data.  I will give an overview of the project, its goals and the part I am playing.


Reconceptualizing Gatekeeping in Multimodal Contexts: The Case of Italian Radiovision RTL 102.5

Asta Zelenkauskaite

A change is occurring in media production and consumption in mass media contexts that affects the gatekeeping process of content selection: User-generated content (UGC) is increasingly being incorporated into programming. This research asks: What are the differences between attitudes and practices with regards to UGC integration in mass media programming, and what are the actual audience participation patterns? To address these questions, gatekeeping theory is applied to a case study of an interactive multimedia setting — a leading Italian radio-television-web station, station RTL 102.5. Through interviews with media producers and content analysis, this study analyzed two types of UGC:  SMS messages and Facebook messages.


Mark Bell is a PhD candidate at Indiana University in the Department of Telecommunications. His past research has focused on virtual words but more recent work focuses on deception in computer mediated environments. He is interested in digital deception detection, group information verification, digital image and video manipulation and online identity manipulation.

Asta Zelenkauskaite is a Ph.D. candidate at the Department of Telecommunications, Indiana University. Her research interests include Computer-Mediated Communication, and Social Media. She researched user-generated content mediated by TV such as Facebook messages and mobile texting; user participation pattertns in online environment – online Internet Relay Chat; collaboratevely analyzed knowledge depositories such as Wikipedia and user interaction patterns in an online massively multiplayer game BZFlag.

 The audio from last Friday’s seminar: Brown bag 6 (Feb. 24, 2012 – Asta and Mark)

Barb Cherry’s Athletic Endeavors, Steve Krahnke’s Set Design, and Intellectual Circuit: Law

Barb Cherry’s Athletic Interests: Through the Years

Professor Barb Cherry is well known as an expert in telecommunications policy.  What many do not know is that she is a skilled athlete whose accomplishments in a variety of sports tell quite a story.  She took the time to share some thoughts, memories, and photos of her experiences over the years.

Barb always had an interest in athletics, both as a spectator and participant.  However, in the 60s and 70s, when she was growing up, there were not many opportunities for women to participate in organized sports.  Her athletic activity in her early years was largely limited to playing catch with her father and brother.  It wasn’t until high school that Barb was able to participate in the one organized sport available to young girls: cheerleading.  Then, as a freshman at the University of Michigan, she tried out and made the basketball cheerleading squad.  “At that time, the football cheerleaders were an all male squad.  It wasn’t until my junior year that they even allowed females as cheerleaders for the football team.  I tried out and made the first squad of women that cheered in the fall of 1974.  Even then, the two squads were separate and did not integrate until many years after I left.”  The only other opportunities for organized sports for Barb at the collegiate level were intramural sports like volleyball.

After graduation from Michigan, she went to Harvard to study law.  It was at this point that she was able to pursue her fascination with horses and riding.  She bought her first horse during her last year in law school, as a graduation gift to herself.  She began to ride competitively in an activity called eventing, which involves three different sports: dressage, cross country jumping, and stadium jumping.  It was during this time that she met her husband, who was participating in an event called hunting.

After getting married and moving to Chicago, Barb had to put her passion on hold, as the logistics of keeping a horse and training were too difficult.  Unable to get rid of the athletic itch, Barb started working out and lifting weights at a health club on the north side of Chicago.  There a trainer introduced her to the world of bodybuilding.  “I was attracted to bodybuilding because it is actually a lifestyle.  It involves aspects of dieting, nutrition, and training over months of time.”  After training for a period of time, Barb was persuaded to compete in two shows and she won both of them, competing in the heavyweight class.

Her foray into the world of bodybuilding came to an end when she was able to return to horse training when she joined the faculty of the Department of Telecommunication at Michigan State University, after completing her PhD in communication at Northwestern University.  She has since decided to focus on dressage, sometimes referred to as ‘Horse Ballet.’  The ultimate goal of dressage is to train the horse to smoothly respond to the rider’s requests in a relaxed and almost effortless way.

Dressage is much more than that to Barb.  Since working with her current horse, Livingston, Barb describes this type of horse training as an art, sport, and intellectual challenge.  “I have learned more as an athlete with this activity than anything else I have done.  It is truly an integration of mind and body, not only with yourself, but with another species.  When I am riding, I get into a state of flow, almost as if there is no passage of time.  I’ve never done anything that has allowed me to completely get out of my head like this.”  Barb has achieved much success in dressage competition over the years as an amateur, many times in direct competition with professionals.  Now, Barb looks forward to going to Florida for the summer to continue her training with Livingston.

Check out this short video detailing Barb’s past athletic adventures.

Steve Krahnke’s Set Design Work at BHS North

It’s likely that you’ve thought of Steve Krahnke as a documentary producer, a professor, an arts administrator, or even a tie collector, but it turns out that he’s almost always been a set designer at heart. When Steve was 14 years old, his parents

Steve’s set design for last year’s production of “Anything Goes”

introduced him to a professional set designer, Jim Ely, who offered him a summer job. Steve took to the craft right away, and it’s something he’s been doing ever since. “I’ve mainly done it purely for fun, and a lot of what I know about production has been informed by my experience in set design,” Steve says.

Steve took a couple of set design courses in college, but by then he’d already been creating sets for years. When he went on to become a theater administrator, people there knew of his background and started asking him for help with set design. About 10 years ago, Franchesca Sobrer, drama teacher at Bloomington North, found out through a mutual friend that Steve had experience in set design and asked him to help with the spring musical. It started out as a fairly simple undertaking. “It was sort of a collaboration with their art department,” Steve explains. “Then I proposed meeting on Monday afternoon after school to start a tech club so the students could work on the things I design.”

Now, the projects for the musical productions are complex and often labor-intensive. The tech club, along with 40 or so drama students and parents, hold work weekends to complete the designs leading up to each production. “We’re capable of producing pretty sophisticated stuff,” Steve says. The stage at North is a large one, and the sets are often designed to move apart and reconfigure to form a new scene. Steve takes some of the time leading up to opening night to train the stage crews for highly coordinated efforts necessary to move the set properly and smoothly.

For Steve, one of the benefits of his time spent working on the sets at North is the satisfaction that he’s teaching the students how to succeed in their craft. “It isn’t really me doing it for them; it’s them doing it for themselves. I just provide them with the means to do it,” he explains. In fact, many of Steve’s collaborators from Bloomington North become students at IU, and he finds several of them in his classes each year.

Their current production, Cabaret, debuted over the weekend, and there’s still time to catch the remaining shows. Tickets are available for Thursday, Friday, and Saturday, and the production begins at 7:30 at Bloomington High School North.

Intellectual Circuits, Part 2: Law

The department offers a joint MA / MS (Telecom) – JD degree with the law school and also many Telecom graduate students take law classes.  Here are some perspectives shared by graduate students and faculty.

What is telecommunications law?  According to current MA-JD student Matthew Pische,  “it as an amalgam of all the statutes, common law precedents, and regulatory actions that affect the creation and dissemination of messages by electronic means, which encompasses both wired and wireless transmission of sound, images, and data.”  MA-JD alumnus and incoming PhD student Ryland Sherman notes that, while telecommunications law is tricky to define, its precedents and statutes find their origin in a number of areas. Ryland suggests a horse analogy to understand the ways in which all other types of law have been applied to communication: “While there is no legal subdivision focusing specifically on horses, many legal disciplines evolving independently of the horse must be applied to it.”

Professor Mike McGregor says that the joint degree program between Law and Telecom is a very beneficial one. “It’s produced some fine students over the years,” he says. Mike adds that the location of the Federal Communications Law Journal in the law school have added to the interest. Both Mike and fellow faculty member Barb Cherry have taught courses over in the law school on topics related to Telecom.

For both Matt and Ryland, one big draw of the dual degree is that it offers a competitive edge for internships and jobs. “The Telecom department provides an understanding of why telecommunications systems and practices have developed the way they have, how the legal rules both influence and respond to these practices, and what social effects new or different telecommunications regimes may have,” Matt explains. Ryland adds, “Competition with other very qualified individuals is fierce, so seeking out a relevant internship early in your career, coupled with your knowledge, allows you to distinguish yourself and begin to build a professional network.”

Ryland adds that even those not seeking the dual degree can still try out a couple of relevant courses within the law school. “They offer non-law students the opportunity to enroll and be graded separately with due consideration to a lack of general legal knowledge,” he explains.

Recommended Courses: Constitutional Law II, Communications Law, Intellectual Property Licensing, Internet Law, Entertainment Law, Copyright Law

Brown Bag

Reflections on the Telecom Graduate Program

Panel:  Harmeet Sawhney (Director of Graduate Studies), Katie Birge (PhD student), Sanja Kapidzic (MA student), Danqing Liu (MS student), and Travis Ross (PhD student)

The session started with a presentation by Harmeet, where he revisited the points he had discussed during the orientation week last fall with the incoming class.  After the presentation, Katie, Sanja, Danqing, and Travis commented on it and also offered their own reflections.  Thereafter the session was opened for a general discussion.


Nicky Birge: Steve Krahnke’s Set Design Work at BHS North, and Intellectual Circuits, Part 2: Law

Nicky Lewis:  Barb Cherry’s Athletic Interests